“奇观时代”的建筑语言及其演变

周官武

doi:10.3724/j.gyjzG22092810

“奇观时代”的建筑语言及其演变

doi: 10.3724/j.gyjzG22092810

周官武

石家庄铁道大学建筑与艺术学院, 石家庄 050043

详细信息

作者简介:
周官武，硕士，副教授，主要从事城市设计，建筑理论、历史及批评的研究。451147901@qq.com

计量
- 文章访问数: 184
- HTML全文浏览量: 14
- PDF下载量: 10
- 被引次数: 1
出版历程
- 收稿日期: 2022-09-28
- 网络出版日期: 2024-05-29

Architectural Language of “Spectacle Era” and Its Evaluation

ZHOU Guanwu

School of Architecture and Art, Shijiazhuang Tiedao University, Shijiazhuang 050043, China

摘要

摘要: 消费时代的空间生产由物质需求向差异、个性化需求的转型推动了奇观文化的崛起和奇观时代的到来。通过对奇观文化、景观社会、消费主义之间的关系及奇观时代的特点和成因的探讨，梳理了自20世纪60年代以来主要奇观建筑的演变脉络，发现消费主义对建筑语言的变迁具有决定性的影响。在批判性缺失情况下，建筑语言只能被动适应消费文化的变迁，逐渐陷入奇观文化泥淖。当下盛行的新几何学通过加强形式自治建构的极化建筑语言，固然能满足无限制造奇观的需要，却也背离了建筑本质，使建筑学异化为形式游戏和奇观文化的附庸。指出要摆脱这一困境，就必须回归建筑本质，回归建构逻辑和场所精神。
- 消费主义 /
- 景观社会 /
- 差异 /
- 奇观时代 /
- 新几何学
Abstract: The transformation of space production in the consumption era from material needs to differentiated and individualized needs has promoted the rise of spectacle culture and the arrival of the spectacle era. To discuss the relations among the spectacle culture, landscape society and consumerism, as well as the characteristics and causes of the spectacle era, the evolutional context of the main wonderful buildings since the 1960s was sorted out. It was found that consumerism had a decisive influence on the changes in the architectural language. In the absence of criticism, the architectural language could only passively adapt the changes in consumer cultures and gradually fall into the muddy of Spectacle Culture. By strengthening the polarized architectural language of formal autonomy, the prevailing new geometry could meet the needs for unrestricted manufacturing wonders, but it also deviated from the essence of architecture, which made architecture become a form game and a dependency of spectacle culture. It was pointed that to get rid of the predicament, the essence of architecture must return, and the architecture must be returned to the architectural logic and the spirit of places.
- consumerism /
- spectacle society /
- difference /
- spectacle era /
- new geometry

HTML全文

参考文献(33)

[1]	张一兵.德波和他的《景观社会》[M]//居伊·德波.景观社会.张新木,译.南京:南京大学出版社, 2017.
[2]	Top 10 Lifestyles. Defining the skyline of Beijing:the CCTV headquarters[EB/OL].2017-12-15[2022-05-16]. http://www.top10lifestyles.com/defining-the-skyline-of-beijing-the-cctv-headquarters/.
[3]	凤凰网.窦文涛:现在全中国各大城市都在尖叫[EB/OL].(2007-10-12)[2022-05-11]. https://phtv.ifeng.com/program/qqsrx/200710/1012_1649_256686.shtml.
[4]	来二孩,王雅静.建筑奇观生产:消费社会下的建筑现象解读[J].城市建筑, 2019(5):70-74.
[5]	鲍德里亚J.物体系[M].林志明,译.上海:上海人民出版社, 2019.
[6]	列斐伏尔H.空间的生产[M].刘怀玉,译.北京:商务印书馆, 2021.
[7]	GEHRY F. Guggenheim Museum Bilbao[EB/OL].(2015-11-26)[2022-07-16]. https://divisare.com/projects/304078-frank-gehryguggenheim-museum-bilbao.
[8]	埃森曼P.对"奇观"文化的质疑[J].时代建筑, 2006(5):61-62.
[9]	德波G.景观社会[M].张新木,译.南京:南京大学出版社, 2017.
[10]	孙全胜.列斐伏尔空间生产的理论形态[D].南京:东南大学, 2015.
[11]	COLEMAN R. Best of 2014:Eiffel tower "copyright":I didn't[EB/OL].(2020-04-23)[2022-07-12]. https://www.likelihoodofconfusion.com/best-of-2014-eiffel-tower-copyright-i-didnt/?shared=email&msg=fail.
[12]	REW. Trio of finance firms commit to Seagram Building[EB/OL].(2020-09-08)[2022-07-12]. https://rew-online.com/trioof-finance-firms-commit-to-seagram-building/.
[13]	贝斯特B,科尔纳D.后现代转向[M].陈刚,吴芸,朱珊,等,译.南京:南京大学出版社. 2002.
[14]	LYNCH P. Fachada do Portland Building de Michael Gravesé desmontada para reforma[EB/OL].(2018-03-17)[2022-07-12]. https://www.archdaily.com.br/br/890643/fachada-do-portlandbuilding-de-michael-graves-e-desmontada-para-reforma?ad_med ium=gallery.
[15]	ROGERS R, PIANO R, FRANCHINI G. Centre Georges Pompidou[EB/OL].(2016-10-16)[2022-07-12]. https://divisare.com/projects/328127-rpbw-rogers-stirk-harbour-partners-hiepler-brunier-centregeorges-pompidou.
[16]	周官武.面对西方当代建筑:查尔斯·詹克斯建筑理论发展的三个阶段[J].新建筑, 2005(1):66-68.
[17]	JENCKS C. The new moderns[M]. New York:Rizzoli International Publications Inc, 1990.
[18]	SADLER V. Stunning Malevich Exhibition at Tate Modern[EB/OL].(2014-07-28)[2022-07-26]. https://www.huffingtonpost.co.uk/victoria-sadler/malevich-exhibition_b_5621673.html.
[19]	百合香.北京地标之二:银鸟巢[EB/OL].(2008-11-09)[2022-07-26]. https://dp.pconline.com.cn/dphoto/list_546283.html.
[20]	Willis S. The tate modern and tate britain reopen in London today[EB/OL].(2020-07-27)[2022-07-25]. https://www.timeout.com/london/news/the-tate-modern-and-tate-britain-reopen-in-londontoday-072720.
[21]	THOMAS. The Walt Disney Concert Hall[EB/OL].(2012-09-02)[2021-03-27]. http://archikey.com/building/read/35/The-Walt-DisneyConcert-Hall/1192/.
[22]	德勒兹G.褶子:莱布尼茨与巴洛克风格[M].杨洁,译.上海:上海人民出版社, 2021.
[23]	周官武.脆弱的联盟:论复杂性建筑与复杂性科学的关系[J].工业建筑, 2022(1):47-51.
[24]	李姝,张玉坤.复杂性建筑与不规则碎片建筑:查尔斯·詹克斯的新书《建筑中的新范式》[J].建筑师, 2003(12):59-65.
[25]	TEEMUNNY. Dalian International Conference Center[EB/OL].(2013-04-01)[2021-03-27]. http://thesuperslice.com/2013/04/01/dalianinternational-conference-center-coop-himmelblau/.
[26]	MCGRATH K. Melbourne set to get the only Zaha Hadid Building in Australia[EB/OL].(2016-07-13)[2021-03-27]. https://www.felix.net/project-news/melbourne-set-to-get-the-only-zahahadid-building-in-australia.
[27]	弗兰姆普敦F.现代建筑:一部批判的历史[M].张钦楠,等,译.北京:中国建筑工业出版社, 2004.
[28]	ArchDaily.100 top projects:Seattle Central Library/OMA+LMN[EB/OL].(2009-02-10)[2021-03-27]. https://www.archdaily.com/11651/seattle-central-library-oma-lmn?ad_medium=gallery.
[29]	谷德设计网. PANEUM面包博物馆,奥地利阿斯滕/蓝天组[EB/OL].(2018-07-02)[2022-07-20]. https://www.gooood.cn/paneum-wunderkammer-des-brotes-by-coop-himmelblau.htm.
[30]	张能.什么是哲学?德勒兹对哲学的另一种读法[J].世界哲学, 2016(1):71-79.
[31]	陈易.室内建筑师的塑造[J].建筑学报, 2003(4):45-46.
[32]	王建国,张彤.安藤忠雄[M].北京:中国建筑工业出版社, 1999.
[33]	马尔格雷夫H.序[M]//弗兰姆普敦F.建构文化研究:论19世纪和20世纪建筑中的建造诗学.王骏阳,译.北京:中国建筑工业出版社, 2007.